Keith Murray - The Most Beautifullest Thing In This World

No, I'm not making it up - that really is what this man decided to name his debut album. 

Keith "I can't be bothered to think of a proper rap name" Murray was the first protege that Erick Sermon signed on following the controversial 1992 split of EPMD, and if Redman was anything to go by, E-Double's ability to find rap stars was pretty potent - and after Keith's appearances on Sermon's 1993 solo debut No Pressure (most notably his performance on the song "Hostile", which inspired the title of the album I'm discussing today) were well received, hip-hop heads all across parts of New York were excited to see what the man would be able to deliver on the solo tip. Keith then managed to sign himself a deal with the highly popular Jive Records, probably after threatening a couple of people with the prospect of being hit with a tall wooden seat (more on that later in his discography), and in 1994 he was able to put out a debut record, that of the ridiculous title you see above. Great! 

The Most Beautifullest Thing In This World managed to not only shift 500 thousand copies, but also was met with positive reception at the time by most hip-hop fans not named Prodigy or Havoc - not only for the Erick Sermon production, but also for Keith Murray's unique delivery on the mic, and lyrics that showed a lot of promise for a young upstart who'd had little experience in the game. As many of us know, Keith's short temper and deteriorating ear for beats gained him somewhat of a poor reputation from the year 2000 onwards, but in the blissful year of 1994, he was revered as one of the best acts in the game. Let's see if his skills as a musician hold up today. 

But seriously - how did a hip-hop album with the word "Keith" plastered right across the top manage to sell 500 thousand copies? And one with that shoddy of a cover art no less?

1. Live From New York (prod. Erick Sermon)

Self important intro that perfectly encapsulates the egotistical attitude a lot of rappers had at the time. Also, a waste of my bloody time. Next!

2. Sychosymatic (prod. Erick Sermon)

From the first cry of "Cowabunga! I'm takin' MCs straight under", you already know you're in for a wild ride with this one. Keith Murray introduces himself as a rapper who can be simultaneously zany and lyrically clever, and it's all helped along by Erick Sermon's pumping instrumental - one that would blow everything he made between 1999 and 2005 out of the goddamn water. Not to mention, "ooh, I might lose my cool" is one of my favourite hooks of the record. Great way to kick things off. 

3. Dip Dip Di (prod. Rod "KP" Kirkpatrick & Erick Sermon)

Another banging beat, this one with a dark piano chord added in to help it sound that much more like something from a horror movie - I think that's a Friday the 13th reference on the chorus too, although let me know if I'm very much mistaken. And while Keith does make an "all in the mustard, and can't ketchup/catch up" pun that sounds absolutely horrible every time, lyrically this one is mostly pretty great as well. Not to mention, both songs so far have been short and sweet, not outstaying their welcomes one bit. Pity later hip-hop records would frequently miss out on this simple art. This one was a banger, gang!

4. The Most Beautifullest Thing In This World (prod. Erick Sermon)

The lead single for this record, a song which is often considered Keith's signature song, if he has enough pedigree as an artist to have a "signature song" in the first place. This track is pretty good, but honestly I'm not as sold on it as most of the other cuts on this LP. Don't get me wrong, it's enjoyable enough, but the beat feels soft in comparison to the last two, and the cry of the title in the chorus is irritating (even if the following shout of "I get in ya" is amusing). Still, Keith's lyrics and flow on this track are pretty fucking excellent, so really I can't knock it. And as a first single, it is memorable. Not bad at all. 

5. Herb Is Pumpin' (prod. Erick Sermon)

Keith's first action here is to ape Redman's "Tonight's da Night" with something of a false start, only on this track it's never really explained why he felt the need to do that - still, it sounds pretty dope, so why it's there in the first place doesn't really matter. The rest of the song is a short and sweet number where Keith Murray rhymes about himself over one of the dopest basslines on the record, and the result is honestly nice as hell. I forgot how good this album was!

6. Sychoward (prod. Erick Sermon)

An attempt to set up the next track, but not a particularly good one - the title on this is amusing though.

7. Straight Loonie (feat. Jamal of Illegal & Erick Sermon) (prod. Erick Sermon, Rod "K.P." Kirkpatrick & Busta Rhymes)

Why the simplest beat on the whole album needed three different producers is beyond me, but still compared with a lot of today's records this instrumental may as well have come out of thin air. Aside from (the uncredited) Erick Sermon doing his best to rhyme whilst apparently having an iron pressed against his buttcheeks (seriously, listen to the way he delivers during this verse), this song continues the album's streak of dopeness, with Jamal and Keith sounding highly competent behind their respective mics, and not finding the need to try and fail to sound like a psychopath (I guess these guys generally sound slightly more invigorated behind the mic than E-Double in the first place). Rhyming alongside two other guys really does go to show how lyrically far ahead Keith was for his time though - I wonder if he regrets his violent outbursts today, knowing that he could have been a far more important and acknowledged figure in the genre if he had just slammed a fist on the table, rather than what actually happened. Oh well. Also, Busta Rhymes on production but no verse? On this song where his zany nature would have been perfect? The fuck?

8. Danger (prod. Erick Sermon)

For the next two numbers, Keith attempts to create some more relaxed joints to "lounge" and "get lifted" to, but unfortunately the first of those, this track "Danger", is somewhat of a mood killer in the tracklist. It certainly isn't bad, but I find the samples during the chorus to not quite hit the right notes for me, and also the sudden shift in energy makes this song seem kind of sleepy in comparison with what we've heard so far. Keith still sounds nice though, and I do like the bass on this joint, so it's not a total loss - this just happens to be the weakest of a great bunch of tracks so far. 

9. Get Lifted (prod. Erick Sermon)

In contrast to the previous track, this one is fucking awesome. Erick Sermon provides Keith with the perfect trippy beat to get blitted over, and Keith doesn't disappoint either, dropping some of the most insane bars across the entire record - the backing may be smooth and relaxed, but make no mistake, the rapping on this song is seriously some of the best across the entire LP. Not to mention that wonderful sample during the chorus. "I grab the 40, rip off the skirt, guzzle it / grab the mic and come out the wood works / when shit's thick and no time to think / Keith Murray gets busy off of Basic Instinct". This has to be one of the best tracks on the whole damn album. 

10. How's That (feat. Erick Sermon & Redman) (prod. Erick Sermon)

Would it be bold of me to say that this is the best Def Squad track of all time? I'm gonna say no - this is seriously incredible, not only my personal favourite song on the whole album, but also home to what is potentially a top 10 Redman verse ever. Seriously, that man blows the others out of the water on this record. Jesus. Erick Sermon's beat is dark and bass heavy, but seriously unique amongst the rest of the album, sounding more up to date and rich; meanwhile, the rappers drop some of their best performances ever on this record, with the aforementioned Redman verse being the crown jewel here - that man really went berserk over this instrumental. If you're lacking 40 something minutes to check this whole album out, at least find time to track down this song - it's seriously worth your time. What a great piece. 

11. The Chase (prod. Erick Sermon)

Another skit which really didn't need to be here. What a surprise. 

12. Take It To the Streetz (feat. Ron Jay, Fifty Grand & KiKi Hitsville) (prod. Erick Sermon)

Over a relaxed instrumental that reminds me of Xzibit's At the Speed of Life album for reasons I can't quite explain, Keith Murray takes the time to introduce us to his own merry band of mates who think that because their friend can rap, they can as well - hey, what rapper doesn't have a gang like this around them? The crew is called L.O.D., and at the time it only consisted of Ron Jay and 50 Grand (the third feature here is reserved for only ad-libs and outros on the track), but I'm pretty sure it grew a bit later on. And for what it's worth, for guys who are only on here at all because of their association to Keith, they're not all bad - maybe the luscious beat, and Keith having one of his less ambitious performances on here, makes them sound better, but honestly I don't mind them - or the track as a whole for that matter - all that much. You know, this is actually quite nice. Also, the title is hilarious. 

13. Bom Bom Zee (feat. Paul Hightower & Hurricane Gee) (prod. Erick Sermon)

Kind of a weird moment on the album, featuring a verse from Hurricane Gee of all people (who seems to show up on lots of random albums, like Dare Iz a Darkside and the aforementioned At the Speed of Life), and some crooning from a singer named Paul Hightower, who's voice is incorporated into the instrumental that stands out for being incredibly strange, and out of place on an album such as this. Keith's presence is barely felt on the record too, and while I don't dislike it, I can't help but think the album would have felt more raw if this failed experiment were left off. Huh. 

14. Countdown (prod. Erick Sermon)

Keith Murray attempts to show the world that he can count from 1 to 10, but after trying and failing he had to sample it from somewhere else. I'm kidding, but really - why is this here?

15. Escapism (prod. Redman)

Another essential joint - I seriously forgot how many brilliant songs were on this album. This track, with some banging production from Funk Doctor himself, right in his Dare Iz a Darkside era, is lyrically without doubt the most engaging track on the entire record, as Keith recounts a time in which he "escaped from the world", and met some martians who he proceeded to get high with. It's a pretty crazy tale, one that a certain Albert Johnson was so pissed about that he decided to use track two of his group's infamous second album (pun intended) in order to diss Keith for his "crazy space shit that don't even make no sense", starting up a beef that never really went anywhere after that (aside from a couple more half assed shots on Keith and Mobb's albums in 1996). I'm not sure why this was such an issue though, because the song itself is really good. Keith's lyrics are nice, and the beat is even nicer. This is a great way to end the album, one of the best on here in general. 

The following is listed as a bonus track. 

16. The Most Beautifullest Thing In This World (Green-Eyed Remix) (prod. Erick Sermon)

An Erick Sermon remix of a song produced by Erick Sermon, and it's nowhere near as good as the original. There's a reason the original song is considered a classic and this one is all but forgotten. This beat really just isn't interesting. 

In conclusion - wow! Upon relistening to this album and writing about it today, I find that it's about three times as good as I remember. Aside from the occasional stale moment or ridiculously stupid Erick Sermon verse (see - "Straight Loonie"), The Most Beautifullest Thing In This World is a fun, eccentric, and occasionally brilliant listen that most importantly, doesn't outstay it's welcome - excluding the bonus track this project doesn't even hit 40 minutes, and it's that short runtime that helps it remain highly replayable - maybe with a finger above the skip button for the occasionally dull moment (not that I ever skip, but most people do). Keith Murray is a seriously good MC, who doesn't only possess a great voice, but is also lyrically brilliant, with a bunch of complex rhyme schemes, quotable lines and generally effective bragging across this record that helps keep it engaging and at times impressive. Meanwhile, his ear for beats and guest appearances is stellar too, with the odd exception. While a song like "Bom Bom Zee" is out of place, and a track like "Danger" could have at least been sequenced a little better, songs such as "Sychosymatic", "How's That" and "Herb Is Pumpin'" portray what '90s hip-hop is all about - brilliant beats with dope basslines and drums to keep your head nodding all the way through, and excellent MCing that never fails to lose the listener. And on a song like "Get Lifted" or "Escapism", Keith proves he can be just as competent when it comes to the smoother tracks to relax to - this man isn't a one trick pony. While the album title, and even the name of the artist, may put some people off, The Most Beautifullest Thing In This World is a truly great listen, and an underrated gem of the '90s that deserves much more discussion. And goddamn is that Redman feature good! 

Best Tracks: "Sychosymatic", "Dip Dip Di", "Herb Is Pumpin'", "Get Lifted", "How's That", "Escapism"

Worst Track: "Bom Bom Zee"

More Keith albums to come on here, but for now here's some Redman reviews which probably discuss him at some point. 

An Atmospheric Journey, pt. 3 - Lucy Ford: The Atmosphere EP's

After the (lack of) success their debut album Overcast! generated for them, Minneapolis rapper/producer duo Atmosphere set about creating even more music for the underground heads to salivate over, only this time in the form of extra "side" projects - compilations and EPs and such - while they gave themselves a lengthier period of time to perfect their next proper studio album. The first of these was the Headshots: Se7en mixtape/compilation that I covered during the last post of the series, and it was pretty great, if not extraordinarily replayable or inventive. Perhaps the more significant of their endeavours in this era, however, was the project I'm covering today - Lucy Ford: The Atmosphere EP's. 

This project was the coming together of three EP's that Slug and Ant had put out in the years 2000 and 2001 - Ford One, Ford Two and The Lucy EP - with a couple of changes in sequencing too (one song from the EP's, "Travel", didn't even make this project at all). The first eight tracks make up The Lucy EP, and then tracks 9 to 15 are Ford One and Ford Two, with a few brand new tracks thrown in there too. The compilation of sorts is mostly produced by Ant, but oddly there are a few tracks on here with different producers, which feels a bit mean considering Ant is an actual part of the group and would therefore have nothing to do with those particular cuts. But whatever. There's also allegedly a hidden track which is a collaboration with El-P, and if there's one song I'm really intrigued by it's that one. But hopefully, there'll be plenty to enjoy throughout the 15 listed tracks on the back cover - Slug is a rapper who could potentially hold my interest for 15 straight tracks, and that's a good thing, as there are no other features on here at all. 

Right, let's get into it. This one has been a long time coming. Time to see if Slug puts as much effort into his EP's as he does his actual albums - because if so, this could be a seriously interesting project. 

1. Between the Lines (prod. Ant)

While Slug's storytelling throughout "Between the Lines" is pretty interesting, especially during the powerful and rather depressing third verse, I honestly think that the main appeal of this track is that instrumental from Ant, and the way it meshes so beautifully with Slug's vocals throughout the track - it's a truly wonderful sounding song, and honestly one of the best of the Atmosphere discography so far. The hook on here is memorable, and manages to be very repetitive without ever coming across as annoying, and this mellow beat really helps Slug's vocals to stand out, without ever feeling like mere background music, always standing out as this beautiful groove. I am actually surprised at how brilliant this sounded. Nice!

2. Like Today (prod. Ant)

A rather depressing storytelling cut - I guess we already know what the lyrical themes of most of these songs are going to be. I must admit I wasn't nearly as grabbed by the instrumental on this track as on the previous one - it's not bad, but just feels a little clunky, and doesn't really have the same smooth and relaxing grooves that made the last track so good. Also, Slug's storytelling is much more matter of fact here, and on a lot of the track he comes across as - to put it bluntly - a bit of a fucking creep. The best part about this track is probably the end part, where he reveals that the day was a dream, and insinuates that his life has become so formulaic that what inevitably happens has been plastered moment-for-moment into his mind. Did I mention the song was depressing? So while this is a step down from the previous song, it does have its moments - here's hoping the writing improves a little for the next song. 

3. Tears for the Sheep (prod. Ant)

On this track, things get a little more intense. Ant samples Aretha Franklin's "Cry Like a Baby", which I immediately recognised as also being the sample used in Czarface's "Cement 3's", released over ten years after this song, I might add - and it makes for a pretty nice beat that feels rather urgent and dystopian, as if the apocalypse mentioned on the previous song has finally come to get us. However, this song is more about Slug's feelings about the rap game, and how everyone is all similar nowadays - they've all become "sheep", hence the title. I've never been the biggest fan of when underground rappers act like they're better than the mainstream artists - even if they are, it's just arrogant and pretentious most of the time - but here Slug does start to improve his metaphors, rather than giving me the message straight up like on the last song, which I do appreciate from him. Overall, this is definitely an improvement over the last track, and a pretty nice cut in general. 

4. Guns and Cigarettes (prod. Ant)

Ant leans into his strengths - that's relaxing, groovy instrumentals - for the first time since the intro track, for this brilliant beat, that is repetitive as it gets, but manages to sound great throughout due to Slug's vocals and lyrics, which are absolutely hilarious. I was wondering why the man kept taking himself so seriously up to this point, so this humorous track (which was brand new on this compilation I believe, not a part of the original Lucy EP) is an honest to God breath of fresh air. Slug's lyrics, especially during the second verse, are entertaining as hell on this one, and I also love the way he incorporated the title into the theme of the song - go ahead and listen to it, you'll find out. In my opinion, it's seriously worth it. One of the best tracks yet. 

5. Don't Ever Fucking Question That (prod. Ant)

Beautiful, beautiful song. Slug's dedication to his mother is powerful, and made all the more heart-wrenching by Ant's incredible work behind the boards here - that sampling is just impeccable. But really, I wouldn't care what beat was on this song - it's the lyrics that help it to stand out. If this was just another tale about some lonely, depressed character with girl problems then the instrumental might not have even sounded that good - but it's not, and it helps that beat to sound beautiful. Also, is it just me, or do parts of that second verse sound exactly like something Aesop Rock would write? Whatever - this song rules. Brilliant stuff. 

6. It Goes (prod. Ant)

It seems that, thankfully, "Like Today" was the exception on here - as outside of that one Ant has been really tapping into his skills throughout this record. I mean, the bassline on this track right here is just exquisite. This is the first song on the project that really feels like it could be an Overcast! outtake, with it's fairly light hearted instrumental, and old-school call and response chorus - but let me tell you it would have been a highlight on that album. Slug's lyrics on here are really stellar, with some great one-liners, including "my son thinks that I am the coolest thing in this world / 'cause he's still too young to fall in love with girls". Rapping, production... whatever - this song is great in all areas. Dope stuff. 

7. If I Was Santa Claus (prod. Ant)

Despite the off-putting song title, I found this one to be really entertaining too. The track has kind of a haunting feel, despite the very christmassy sound that the instrumental incorporates, and Slug uses this as a blueprint for one of the most passionate performances he's delivered on this record thus far. The lyrics on here are nothing short of fantastic, with aggressive verses detailing all of his feelings at the time on music, love, his own depression, and much more. The track is far darker than the previous one, and it does add to the kind of bipolar nature of the record so far - but honestly that's not such a bad thing. This is one of the best tracks yet. 

8. Aspiring Sociopath (prod. Ant)

Quite the switch up in sound from the rest of the project so far, this pretentiously titled song finishes The Lucy EP section of the album, and it's... interesting. Musically, this one doesn't warrant much replaying - the halloween-esque instrumental is slow and gets rather mind-numbing, even if it is at least somewhat experimental and interesting, and Slug's flow is nowhere near as tight and in the pocket as it has been throughout the rest of the project. No, the main draw for this song is the storytelling, which basically is a better, less creepy (despite still being somewhat creepy) version of what Slug wrote on "Like Today" - and it's pretty entertaining, bar some of the attempts at singing classic songs strewn throughout the lone verse. Slug's mind clearly travelled to a myriad of different places during his early career, and this is an example of when his highly intriguing pen distracts the listener from any shortcomings the instrumental or actual rapping performance might have. This isn't a great song, but it does stand out, and that's important in a discography as big as Atmosphere's. 

9. Free Or Dead (prod. Jel)

This is the point in the LP where the Ford One and Ford Two EPs are placed, a change marked by the introduction of a new producer. And I've gotta say, this Jel guy does a pretty good job of keeping up the atmosphere (ha) of this album, with an instrumental that's relaxing yet also somewhat haunting, and one that doesn't overwhelm Slug's vocals on the song at any point either. The chorus on here is a bit pointless, feeling like just another part of the verses, only one repeated unnecessarily at the end... but otherwise this song is pretty awesome, despite Slug's affinity for rhyming about being a creep rearing its ugly head again. The rapping here is pretty damn entertaining, if the flows were a little repetitive at times, and as I said this beat is dope. Nice stuff!

10. Party For the Fight to Write (prod. Ant)

Atmosphere's love letter to the genre they work within is this track, the title of which alone pays homage to two classics by Public Enemy and the Beastie Boys. The bass heavy instrumental feels like a Bomb Squad beat put through the Atmosphere filter to make it sound relaxing, and it's really good, especially when it starts to switch up a bit midway through the track. Pity there's no record scratching on here - that would have enhanced the track to no end. Still, as it is it's pretty nice, with some really good verses from Slug - the awkward "Shook Ones" interpolation notwithstanding - and a reasonably well written hook. Like the last couple of tracks, it's not phenomenal, but it's not bad either. 

11. Mama Had a Baby and His Head Popped Off (prod. Ant)

The only song in this half of the album that's all new, not taken from the Ford EPs - and in my opinion it's a step up from the last few cuts. Atmosphere are at their best when Ant is creating a smooth, relaxing instrumental, and Slug is rapping calmly but with conviction, with some lyrics that are interesting and meaningful, but not too corny or preachy either - and this song manages their strengths perfectly. The instrumental, with that groovy bassline and vocal sample, is absolutely gorgeous, while Slug's rapping is brilliant - his lyrics are typically great, and his flows are nice too. It doesn't even have an annoyingly repetitive hook. This song is easily one of the best so far, and a brilliant track in general. 

12. They're All Gonna Laugh @ You (prod. Jel)

Ehhh... I get what Slug was trying to do here, but it really doesn't work for me. Remember the stuff I mentioned in the last paragraph about what makes Atmosphere great? Yeah, this has none of that. The instrumental is jarring and barely qualifies as music at all, while Slug's yelling and his terrible, terrible final bars are annoying as all hell. It's great that you can use music as a way of letting your anger out Slug, but do you really have to subject the general public to the results of it as well? This was a swing and a miss - but hey, at least it's short. 

13. Lost and Found (prod. Jel)

Definitely a big improvement on the last song, even if it is again a bit abrasive compared with some of the best material on this project. Slug's performance here is better and less whiny than on the previous song, meanwhile the instrumental is loud without being clunky and annoying - that last song really was a weak link wasn't it? Some of Slug's lyrics on here are really great, especially the opening few bars, and even if it is repeated to high heaven, I do enjoy the chorus on this track too. Yeah, this one was pretty fun. 

14. The Woman With the Tattooed Hands (prod. Ant)

This project's most popular song is this rather odd storytelling track, in which Slug recounts a time when the tattoos on a woman's hands came alive after she started to *ahem* pleasure herself. I'm assuming it's Ant's brilliantly moving instrumental, with its beautiful piano chords, that is the cause of this song's high streaming count, because I can't imagine Slug's disturbed fantasy is the reason - this song is lyrically weird as fuck. Entertaining, but weird as fuck all the same. There's probably some deeper message to this song, but for the moment I'm not really sure. Maybe it's just a story for the sake of a story. Either way, Slug is clearly starting to scrape the barrel for ideas, so it's a good thing we've reached the last song. 

15. Nothing But Sunshine (prod. Moodswing9)

Aside from the bit where Slug murders a cow while moaning (yes, that really does happen during this song), I actually really enjoyed this one - it might well be the best of the entire second half of the record. Slug's tale of how his rough upbringing didn't affect his positive outlook on the world now is touching (even though apparently most of the story is made up), and Ant's beat is fucking awesome, with great ringing pianos that make for beautiful backing music to the song. This was genuinely stellar, and a truly great way to end this project. 

But wait! Is that a... hidden track? Why yes, it is. 

15 1/2. Homecoming (feat. El-P) (prod. El-P)

I can only assume it was Slug not wanting to have any guest appearances on his album that kept this joint off of the main project, because this is easily one of the major highlights on here, and that's not even just the El-P Stan in me talking. Oh sure, El's verse is absolutely brilliant on here, being a precursor to a lot of the weird, unorthodox rhyme patterns and lyrics that would litter his masterpiece Fantastic Damage one year after this song's release - and his production is also fantastic (if not really like a lot of the other stuff he was doing at the time), with the pianos and occasional electronic sound effects creating a dystopian air to the song that is mostly missing from other Atmosphere tracks. But... I mean, Slug does good as well. Ah, who am I kidding - El-P is the main reason why you should listen to this - and you really should, as it's fucking brilliant. Great way to end this album - if only it was on a separate track to "Nothing But Sunshine". Oh well. 

Honestly, Lucy Ford: The Atmosphere EP's might just be Atmosphere's best album yet. Sure, Overcast! and Headshots: Se7en were both very entertaining, but at the end of the day they felt very amateur, and very rough around the edges. Lucy Ford is the first album in their discography thus far that feels like a proper project made by professionals using proper equipment - it feels like they're finally starting to find their own sound, and differentiate themselves from all the other underground, battle-rappy acts of the time. I've gotta give most of the props on here to the first half of the album, The Lucy EP, which was actually more recent than the Ford EPs, so it makes sense that it'd be more realised. Aside from my small issues with "Like Today", there was really very little to criticise within this half of the album. The storytelling was brilliant, Slug sounded brilliant on the mic, and Ant's production was consistently great, with plenty of lovely grooves being found in this part of the album. The second half is definitely less consistent, both in quality and also in sound in general - the latter point making sense what with the introduction of more new producers in this section - and in general lyrically and musically a little bit less enjoyable; but it's still pretty great nonetheless, and for every underwhelming moment (or straight up bad song - I'm talking about "They're All Gonna Laugh @ You", of course), there is a fantastic song too, like "Nothing But Sunshine", or that brilliant El-P collaboration that's a hidden track for some reason. This album is most certainly not perfect, but it definitely is a big step forward in Atmosphere's sound, and makes my excitement for the next album GodLovesUgly rise tenfold. I'd definitely recommend a listen of this - Atmosphere's unique sound is one that isn't to be missed, and much of the time on Lucy Ford their formula is working at it's absolute finest. 

Best Track: "Don't Ever Fucking Question That"

Worst Track: "They're All Gonna Laugh @ You"

If you're interested, I've written a little more about Atmosphere too!

Aesop Rock - Float

Amongst the thousands, millions even, of hip-hop artists who have blessed and/or tortured our ears since the genre's beginning in the '70s, none have ever been quite like Aesop Rock. Ian Bavitz, the man behind the unusual stage name, is one of the most formidable, diverse and generally mind-bending artists across the board of rappers, and producers for that matter, what with his complex vocabulary, cartoonish and bouncy musical style, abrasive vocal delivery that's certain to turn some potential fans away, and most importantly, a way of writing things that do make sense eventually, but often only after hours of deciphering down how each individual word fits into the sentence. It's almost difficult to explain how Aesop Rock writes - often in these incredibly confusing diatribes that, when rapped to you at speed, feel like they may as well have been the warblings of a madman. What is perhaps the most incredible moment of an Aesop Rock album listen is when you sit down at the end, find the lyrics transcribed somewhere, and spend hours, days even, working out what the hell they all mean. 

Because I'm sure absolutely everyone does that. Right?

Aesop Rock has, deservedly, breached many people's top ten lists, and while these days he has a fan base to rival some of the biggest in the underground, back in 2000 he was just getting started. Whilst he had two projects under his belt ("Music For Earthworms" and "Appleseed", both of which I'll track down someday, and hopefully review too - it's a pity they're so damn hard to find in physical form), the man wasn't lucky enough to get someone to help distribute his music until his third effort, Float, released as the new millennium struck. Float, sometimes considered his proper debut studio album, was a bit of a behemoth, spanning 20 tracks and 70 minutes total, which seemed rather bold for a fledgling artist in Bavitz' position - even with the help of established underground powerhouses Slug (of Atmosphere, obviously) and Doseone, as well as Vast Aire, one half of (at the time) up and coming underground duo Cannibal Ox. 

And when you consider Aes' confusing pen game, teamed with the slower, darker production styles found across this album (courtesy of Aes and his main producer at the time, Blockhead), it's difficult to imagine that Float could be capable of keeping the listener's ears engaged throughout it's runtime. It obviously did something however, as Aesop's career would only expand and become even bigger and better from this point on. 

It seems that Float was the last stepping stone before greatness when you consider what came after it, but today I want to look back, and see if Float is due a little more appreciation from the hip-hop heads as it's own body of work. Let's get into it!

1. Float (prod. Aesop Rock)

Over a minimalist self-produced beat, Aes takes a couple minutes to introduce himself to all the new fans that the record label bought him, and it's not half bad, even if the production especially sounds very skeletal compared to most of his instrumentals. But I think that's the point - the beat is supposed to serve as little more than a metronome here, and it's the rhymes that are entirely the focus of the listener's attention. And it's a good thing that the vocals are clear on here, as some of them are very difficult to comprehend. On even this very short song, it's very easy to lose the narrative, and I'm sure new listeners to Aes will be confused almost immediately. "Fire ant with a hunger pain gut be gone / belong to something civil, saint, 'cause this Rembrandt paints on" he spits, prior to the memorable "some present impressive lung, some truly learn what a death chant is". Where some Aes lyrics take much coming back to, some do stick out immediately, something I really noticed going through his catalogue. My conclusion here? Not bad. Yes the track's instrumental doesn't sound fantastic, but Aes' lyrics are truly great, and as a short precursor to the record, it is highly intriguing. We're off to a good start. 

2. Commencement At the Obedience Academy (prod. Blockhead)

I mean, where the hell do I start? We're two songs in to Aesop's major label catalogue, and already I'm overwhelmed. The lyrics on here, while occasionally very potent and thought-provoking, are just as frequently confusing as all hell. For every "clocked in in '76 and haven't clocked out ever since", there's a "pupil turned pedagogue, benediction to my dream / beaming a billion bottle rockets off the golden mezzanine". I mean - the fuck? This man is completely insane. But as I said before, it's something I like about Aesop. He forces you to come back to his music, just because you need to know what the song was about, and to gain that knowledge many repeat listens are required. And also, you just want to come back because it sounds good. Blockhead's production on here is eerie and menacing, and while initially it seems a little too off kilter, when those hard drums come in it all starts to make sense. This beat is great. And as for the rapping, it's truly extraordinary - this is a fantastic song. 

3. Big Bang (prod. Aesop Rock)

Is Aesop Rock the first rapper to ever use the word "pedagogue" in two songs on the trot? Yes, almost certainly. "Big Bang" is this album's most popular track, and it's for a very good reason, as this song is weirdly incredibly catchy - at least when Aes' rapid fire flows in the chorus come in. This beat is a bit more high energy than most of the drearier (in a good way) instrumentals that litter this project, with it's most notable feature being this recognisable violin sound that is goofy, creepy, and brilliant all at the same time, especially during the aforementioned chorus - and Aesop Rock makes us know that it's his by rapping over it absolutely perfectly, dropping bar after bar with brilliant enunciation. "I don't really believe in God, but God I'm scared to death of God, I swear to God I never meant to spill these beans" is one of my favourite lines on the entire record. In fact, this could be the highlight of the album - the instrumental, lyrics, and unique flows certainly put it in high favour. Fucking sick track. 

4. Garbage (prod. Aesop Rock)

Aesop Rock attempts to "strap on the blinders and walk directly into the frenzy" with this one, according to the liner notes at least (the booklet gives a short, esoteric description of each individual song's concept, which is helpful), which perhaps explains why this song isn't nearly as upbeat as the previous track - it does offer an almost apocalyptic sound, only if the apocalypse setting was in a circus. There's something weirdly jovial about this instrumental, but I do like it a lot - the drums are the most normal out of any song so far, which leaves a little more room for Aesop's vocals, and thereby making this surprisingly easy to listen to. Of course, a good drum pattern doesn't always make for a good song, but thankfully, it's Aesop Rock we're dealing with here, who cooks up some sick narratives about the people whom he left behind or fell out with before becoming a rapper on a (small) record label. At least that's what I interpret a lot of this is about - I said it was a little easier to decipher, but it still isn't a cakewalk. And the man inevitably sounds great over this beat too. Brilliant tune, and one of this album's underrated gems. 

5. I'll Be OK (feat. Slug) (prod. Blockhead)

Probably the most unusual song on this LP - not for Aesop Rock's performance, which is actually one of my favourites so far... but because of everything else. I mean, what the hell was Slug trying to do on this one? Was he paid to make sure Aes looked as good as possible? Because frankly, the guy sounds like a gimmick of himself on this track, and that's coming from someone who really likes Slug as a rapper. Also, the harmonica in this track is really weird, and frankly the instrumental does not fit the vibe of this album at all. If this was a solo Slug song I'd probably say it was pretty poor, but it's very easy to revisit this, as Aesop Rock murders his verse on here, somehow managing to make the beat sound pretty great too. That part when he says "there's a storm outside my tenement" and the beat breaks down somewhat is simply musical perfection. It really lifts the song to a different level - yes this is far from perfect, but it could also be a whole lot worse. 

6. Breakfast With Blockhead (prod. Blockhead)

A musical interlude, which sets the tone for the next portion of the album. That's all. 

7. Basic Cable (prod. Blockhead)

Aesop's observations on the negative impacts that television has had on society since its inception, something that he's actually discussed multiple times in his career (the back cover of Labor Days even depicts him sat in front of one). This song stands out as being more obviously thematic than a lot of the other songs on here, but even then Aesop frequently comes with some weirdly worded bars anyway. For me, perhaps the main standout of this one is the incredible dark and creepy instrumental that backs Aes' cautionary verses - those violins teamed with the dusty drums make for something unlike what Aes would experiment with again, and it's a very interesting sound. Overall, one of the best tracks yet. 

8. Fascination (prod. Aesop Rock)

Like the last track, this one also largely stands out in the Aes catalogue because of the production, but more so because it sounds like a No Limit Records throwaway, with a slight abstract twist to cater to Aes' style of rapping. It's very odd, with the cheap sounding drums and tuneless bass hits making me wonder if Mystikal is about to come in with a guest performance, but it does admittedly kind of work - the sound has a different vibe to it that's a nice break from the darker, occasionally orchestral sounds found on songs either side of this one. Thematically, this track is all about how much Aesop enjoys his own music, which is just something that no-one's ever discussed in their raps before... but because it's Aesop rapping here, he does do it in a way which makes it seem at least somewhat humble (even if he does start the second verse with the line "and everything I touch magnificent"). You probably wouldn't catch the current Aesop making a song like this, but as it stands, I really don't think this one is too bad at all. In fact, it's quite good. 

9. Oxygen (prod. Blockhead)

Seriously, seriously great. Blockhead provides Aesop with another violin-tinged instrumental, but even with some other beats that had this element earlier on in the tracklist, it's quite obvious that this one stands out as the best. The violins, along with the echoed vocal samples, come together to make for one of the strongest instrumentals on the entire LP, and one of the best in Aesop's entire career, dare I say it. This one is worth coming back to just for that beat alone. However, there are other elements that I definitely enjoy about this one, all to do with Aes' performance. As well as a hilarious back-and-forth bridge in the middle, this one contains one of the longest verses on the whole album, and it's completely hypnotic how Aes rides the instrumental - you almost forget that he's saying words at all, as it's just too easy to get lost in the flows here. Remember, on Float the man is just starting his career, but on this track it's as if he's had decades to hone his immeasurable skill. This might be the best cut on the whole record. 

10. Skip Town (prod. Omega)

Omega One's only contribution to the cause today comes in the form of an instrumental that feels a hell of a lot more light hearted than anything else we've heard so far, save for perhaps the oddly goofy music on "I'll Be OK". That doesn't mean the track suffers though, as while it does kind of break apart the moody, dreary vibe the last three tracks were going for, it's still a fun banger that probably could have done fairly well as a single too, especially given the rather catchy chorus on here. Not only that, but this song also features my favourite lines across the whole album: "I interviewed the sun, he said the future's looking bright / I interviewed the rain, he claimed the sun's truly an asshole!" Classic. 

11. 6B Panorama (prod. Aesop Rock)

I'll be honest, this is the first miss on the album for me. And I don't mean to offend anyone when I say this, but occasionally, when he leaves behind the abstract poetry and raps in a more straightforward manner, Aes can come across as kind of corny - and here, in this one verse wonder that lasts a mere two minutes, it feels like Aesop is forcing a concept that has no true message behind it other than "wow look at all the things happening in the city". And it's weird that this doesn't work, because there were many straightforward raps on Integrated Tech Solutions, and I really liked all of them. Here however, it just feels uninteresting, and the instrumental ain't anything to write home about either. Still, at least it's short. 

12. Lunch With Blockhead (prod. Blockhead)

Another musical interlude, which sets the tone for the next portion of the album. That's all. 

13. Spare a Match (prod. Blockhead)

After a couple more light hearted instrumentals, we're back to something darker here, even if the violins don't seem to be making a return. This Blockhead instrumental is pretty haunting nonetheless, and Aes uses it to discuss the difficulties he faces in finding the few people who can actually help him in life, especially being as weird as he so says he is - and remember, the guy had a major breakdown not too long after this album, so obviously that help was something he needed. The track also features a rather harrowing chorus, where the phrase "to live and die as a brick, brick, brick in the wall" is repeated, showing how while Aes might be the "most distorted orchid in the patch", he's still doing better than most of society, whom fit in their place as an unremarkable brick in a dull and lifeless wall. It's one of the darker tracks on the record overall, but the way it's written, and the way it sounds, make for something very compelling too. What a track. 

14. Attention Span (feat. Vast Aire) (prod. Blockhead)

It's interesting how on this album it's always the guest that goes first, before Aesop drops his verse. Perhaps he wasn't as convinced that everything he touched was magnificent as he claimed. Even if Aes is clearly the better rapper on this track, I do find it refreshing when Vast Aire comes through with a verse - and not just because he actually raps normally, unlike whatever the hell Slug was trying to do on "I'll Be OK". No, Vast Aire's verse is dope without being overly abstract at all, making it a lot easier to understand his message here (the message being "I'm a better rapper than you, also your wife sucked me off"). Yes, the contrast between Aesop's thematic and poetic verses with bars like "your girl was on my dick like she was teething" is strange, but I think it kind of works - and predictably Aes kills it anyway (also proving how he can rap well over any instrumental - this horn heavy concoction differs entirely from most of the other shit we've heard so far on Float). This isn't a personal favourite or anything, but it is highly entertaining nonetheless. 

15. How To Be a Carpenter (prod. Aesop Rock)

"Documenting those who demand the product before considering the process" is how the CD booklet describes this song, which is a pretty interesting concept... would potentially be more intriguing if I understood what the fuck Aesop was saying in half of this song, but whatever. After the past few self produced instrumentals had some issues, I'm pleasantly surprised at this one having another incredible, slightly dramatic but also eerie as fuck beat that seems to indicate this as one of the most important tracks on the whole album - and while this song has less quotables than most of the others, I still find those interludes where Aes gives his carpenter apprentice a strong talking to, to be hilarious as fuck. 

16. Prosperity (prod. Aesop Rock)

Over an instrumental that sounds like a new and improved version of the one we heard on "Fascination", Aesop discusses longevity by "honourable means", and it's at this point in the album where we really start to feel its length. Realistically, this album had no hope of being a true classic, when it is so long and has so many songs that, while good on their own, do have quite a similar sound. This instrumental, with its deep bass and jazzy background horns, feels like it blends in with a lot of what's around it, and while it is great it doesn't exactly stand out. On its own, however, I will commend this song - the rapping is pretty top tier, and when the bassline switches up during the second verse it starts to sound especially good. Overall a good song, but this album is beginning to get a bit long in the tooth. 

17. No Splash (prod. Blockhead)

Man, I really do love Blockhead, but goddammit this beat sucks. The main melody is incredibly annoying, and the drums just feel abrasive next to it. This isn't even Aes' best performance - he actually sounds kind of subdued for a lot of it. I'd like to think it's just that this album has gone on for too long at this point and I'm nitpicking, but nah - this might just be Aesop's worst song ever.

18. Drawbridge (feat. DoseOne) (prod. Blockhead)

Really, really weird. I am aware that DoseOne was a member of highly regarded group cLOUDDEAD, but this is the first time I had ever heard him on a song, and... the fuck? Why does his voice sound like that of a bird from a 1960s Disney film? I mean, Aesop Rock has a unique voice, but compared to this guy he may as well be Gunna. While DoseOne does his best to try and fuck up this dope ass Blockhead instrumental, Aes makes sure things go over smoothly, with a fantastic performance on this track that makes you forget about the last song entirely. This song is nothing to blast from the rooftops, but it's certainly not bad either. 

19. Dinner With Blockhead (prod. Blockhead)

A final musical interlude, which reminds the listener of the tones set throughout this album. That is all. 

20. The Mayor and The Crook (prod. Aesop Rock)

Aesop ends the album fittingly, with this commentary on how people in society tend to fuck each other over, and maybe if the criminals and those in power slay each other, we can build a new society that is  far more productive than it is now. Well, at least that's what I got from it. From tracks 16 through 18 I tend to lose a bit of hope in this record, but if there's one thing I can be sure of it's that this track will turn those negative feelings around, as it is truly fucking great. Aesop is a phenomenal rapper as always, and here he cooks up a fantastic chorus and brilliant instrumental to go alongside it - the latter probably being one of the best on this whole record for me. "The Mayor and The Crook" would be topped by Aes countless times on later, superior releases - but on Float, it definitely stands as one of the best and most well thought out tracks on the entire LP. Although that sudden cut out at the end is a little irksome. 

While Float has little poor moments across it's hefty 20 track runtime, it still stands out as one of the weakest efforts in Aesop Rock's catalogue, without doubt - and that's including the longer projects he's been dropping recently, as it seems he's learned how to better sustain interest over such a period. Yes, in terms of minutes Labor Days is barely shorter than Float, but at the same time it offers much more variety in sound and song structure - while Float oftentimes feels like many different takes on the same song, with different lyrics and instruments, but very similar flows and moods within the music. Take "Garbage" and "Spare a Match" - both sound great, but at the same time it must be said the two tracks do sound very similar to each other, even in their dystopian lyrical content. And furthermore, Float actually does contain some missteps, something I (spoiler alert) barely ever see in later Aesop projects. "6B Panorama" feels forced, while "No Splash" has one of the most mind-numbing beats I've ever listened to on a hip-hop album (well, maybe that's exaggeration, but it's still pretty bad). 

However - and that's a big however - Float is still incredibly impressive, and oftentimes really bloody great. Not only is Aesop's poetic writing hugely intriguing, and of a very high standard, especially considering his age and relative inexperience at the time, but also there are more than a few genuinely fantastic songs across this tracklist - whether we're discussing the eerie and haunting sounds of "Basic Cable" and "Oxygen", the fantastic violin loops on "Big Bang", or the lyrical genius across... well over half of the tracklist if we're being honest. And even if the sequencing on this album, that leaves it sprawling and occasionally samey, was one of it's weaker points, at least Aes had the good sense to end things on a fantastic note with "The Mayor and the Crook", as well as gift us with some pleasant instrumental interludes in there too. While Float shows Aesop at a point where he still needs to work out some things musically, I'd highly recommend a listen to those who haven't - if perhaps not as your introduction to Aesop. There's plenty of great music on here, and for a lesser artist, it could have been a magnum opus. Unfortunately for Float, Aesop would only continue to ascend from here, leaving it an oft forgotten debut. Thanks for reading!

Best Tracks: Commencement at the Obedience Academy, Big Bang, Garbage, Basic Cable, Oxygen, Spare a Match, The Mayor and the Crook

Worst Tracks: No Splash

There will be more Aesop Rock reviews to come - hopefully quite soon if I get my act together!

Tech N9ne - Everready [The Religion]

In early 2005, Kansas City rapper Tech N9ne was touring, trying to maintain the hype for his upcoming album, which was by this point three years in the making, and well overdue for release. While Vintage Tech (a compilation of old music he put out) had managed to feed the fans somewhat, the man needed to cook up something fast to release as all new music, before his followers started to become agitated at the lack of new shit (if only some of today's artists had this much care for their supporters, *cough, cough* A$AP Rocky, *cough*). 

Picture the scene. Tech and his four buddies are alone in the tour bus, drinkin' and smokin' and... well, maybe not humpin' (that would be weird), when suddenly it hits a patch of ice, flies off the road, and begins to roll. After what feels like hours of tossing and turning, the vehicle finally comes to a rest far off to the side of the highway - with what should have been five severely injured or even dead men inside. But miraculously, they all survived without so much as a scratch. And beyond a near death experience, Tech became inspired to devote himself even further to the party life and having a good time - his ambitions were now to live life to the fullest, and his new music needed to reflect this. 

He began to retool parts of the new album, and it took a while - possibly delayed even further by Strange Music splitting with MSC, distributor of all their albums between 2002 and 2005, meaning they had to seek refuge in different companies (RBC and Fontana Distribution to be exact). It wasn't until late 2006 that it all came together, but when it did, and Tech was finally able to gift his fans the project they'd so long been waiting for, he didn't miss a beat. The album, named, oddly, after a battery company, was praised like a God on release, with all of his fans claiming it his best work yet. It had party music, sure, but it also had some of his more personal tracks yet, and the new direction in production also had the fans loving what Tech was up to.

But does it hold up 20 years later? And coming from a fan who adores to death Anghellic and Absolute Power, is it that good? Let me take a look. 

God it feels like a while since I did one of these. 

1. Enter Everready

Aaron sets things off with a dramatic but generally very entertaining skit detailing the car crash that him and his homies had that I considerately detailed earlier. Yes, it's a rap album intro, but at least it isn't a fucking boring one.

B.L.E.S.T.

2. Riot Maker (feat. Skatterman & Snug Brim) (prod. Robert Rebeck, Tech N9ne & Tyler Lyon)

While nu-metal is a genre usually dismissed by musical elitists (not that I claim to be one at all, lest I appear like a total bellend), there's no denying that this opening song fucking rocks. Tech N9ne and his housekeepers Skatterman and Snug Brim (who would later fall out with Tech over issues with their promotion, or rather lack of it, in a story for another day) spit dope shit over a heavy metal inspired instrumental, preceded by a creepy and tense build up that's bookended by one of the catchiest bridges of Tech's entire career - "we gon' start this shit off right / we got KCMO in the house tonight" he chants as the guitars plunge in. That part is so good it makes the actual chorus seem fairly anticlimactic in comparison. Tech's verses on here are wonderful, especially the one about getting sued after some "bitch" cracked her head open in a mosh pit at one of his shows - and it's in this verse where Tech exhibits an ability to show no remorse about this incident, which further emphasises his image as a no-fucks-given independent rapper. By the time Skatterman pops up, you're already sold on this anthem. Incredible way to start the album. 

Enjoy

3. No Can Do (feat. Big Krizz Kaliko) (prod. Rick Rock)

Just in case the odd listener was thrown off by the previous track as the opener, "No Can Do" is a more easily digestible affair for your average hip-hop head - not that your average hip-hop head is necessarily a Tech N9ne fan (didn't I write that before in a previous review?). Tech's first verse is your standard shit talking, but he does raise an interesting diss towards Patrick Grant, who tried to sue Tech for using the name "Strange Music" - an interesting little Tech fact that I'm sure many haven't heard about (Tech's issues with the industry were so many back then that a lot fly under the radar). Personally, I was more phased by the Busta Rhymes shout-out during Krizz's verse, one of the first the man actually performed on a Tech record. While I like this song, and it has a fun energy to it, I find that it's indicative of why I don't enjoy this record quite as much as some others by Tech - it's just too one-dimensional, and often lacks depth. The production here is good, but not what I'd characterise as "strange", and the lyrics consists of boasting and the occasional name-drop, which is fine - but when there are a few other tracks here that are similar to this but with better beats and hooks, this one gets swept under the rug. Seriously, I don't think this is making anyone's top 50 Tech songs list. Still, it's a fun one nonetheless. 

4. Welcome to the Midwest (feat. Big Krizz Kaliko) (prod. Michael "Seven" Summers)

Tech delivers another ode to his hometown on this one, depicting the Mid-West as some kind of apocalyptic wasteland where staying inside is your best option. I mean, is Kansas City really the place where "killers keep it cracking"? I mean, I've never been there, but I'm pretty sure it ain't no Compton. Still, I like how much more thematic this track is than the last two, and Tech and Krizz bounce off each other very well in the back-and-forth third verse - the latter really showcasing a talent that would make his later solo work pretty damn solid too. The Frank Sinatra sounding chorus (correction: it actually apes Dean Martin's "Sway") is pretty out of left field, but sounds good, and the flows displayed on this song are some of the most ferocious on the entire LP. This track is fucking sick. 

5. Bout Ta' Bubble (prod. Michael "Seven" Summers)

The only single released for this album (yes, the song later on that is far more well-known never got an official single release), and it's a total banger. Michael Summers provides Tech with one of the most old-school beats heard in the year 2006, and Tech rips it up with some more boastful verses, largely about touring the world and making friends with lots of other rappers, including E-40, who actually shows up to verify this later on in the album. The track is lyrically similar to most of Tech's lead singles (think "It's Alive" and "Here Comes Tecca Nina"), but this time it's that Beastie Boys esque instrumental, along with the bloody hilarious hook ("and drinking, and smoking, and humping, and likin' it"), that make it stand out. Not only that, but Tech's flows are only improving with time. This is some seriously good stuff. Who said Tech only makes music for metalheads?

6. It's What You Thinkin' (prod. Michael "Seven" Summers)

This is the sort of song that people who are already really into Tech's style will love, and those who are skeptically checking out his music for the first time will fucking hate. The track does feel like a mid-2000s Tech N9ne party song, with a pretty nice beat that is bass heavy and feels celebratory yet dark, some fucking awesome flows and delivery, and a catchy chorus that's unfortunately delivered in a really goofy fashion - but the subject matter here is so played out and uninteresting ("your wife comes to my shows to fuck me and you're gettin' none, HA! Cha!"), and the sound of the track so mid-2000s, that your average Tyler, the Creator fan will probably look at you in disgust, before throwing your boom box out of the window. Personally, I think it's okay - but it's no "Einstein Tech N9ne", that's for sure. 

7. Night and Day (prod. Michael "Seven" Summers)

Sounds pretty similar to the previous song, only this time there's less emphasis on bangin' your bitch, with the song focusing on all aspects of Tech's parties in equal measure instead. The song is occasionally derailed by the fucking weird hook, with its creepy operatic vocals and all, but thankfully the intense instrumental and Tech's flows keep the verses sounding pretty nice. There's also a reference in here to the style of "Funkra", a "genre" Tech N9ne claims Krizz Kaliko made up all on his own. Ironically, this shit sounds exactly like half of the Southern hip-hop on the radio in 2006. 

T.E.C.H. Radio

8. Jellysickle (feat. E-40) (prod. Rick Rock)

I'm sure many of the hip-hop heads who picked this album up in 2006, excited about this rising underground star (yes this album wasn't as successful as Tech hoped, but it still cracked the top 50 on Billboard, meaning it must have done some numbers), gravitated to this track first, as it features Bay Area legend E-40, easily the most famous guest star on this LP (although Rick Rock's production credit on this track and a few others would also have drawn attention I'm sure). What they would find is, however, one of the weirdest songs on the entire album. The instrumental on here feels like circus clown music crossed with a Jelly Roll beat (the West Coast producer, not that fat white rapper everyone seems to know these days), and the whole concept of the song surrounds a word that Tech completely made up - not that that's unusual in the man's discography. Still, I kind of like this despite it's often ridiculous sound - Tech sounds good, the chorus is catchy, the beat is fun, and goddamn does E-40 pop off during his verse. This track definitely isn't one to be missed. 

9. Caribou Lou (prod. Rune Rask & Troo.L.S.)

The album's biggest hit, and arguably Tech's signature song, is this club-ready affair that is home to one of the most bangin' beats on the entire album, as well as some pretty hilarious bars from Yates about partying, and attempting not to shit everywhere whilst doing so. In case someone new to Tech is reading this review, a "Caribou Lou" is the man's signature drink, something that would later result in him being sued by the makers of caribou coffee - that's a story for another day. And while this song is one that I might have overplayed a bit, I still find lots of enjoyment in it today. It's without doubt an absolute banger. 

10. Hood Connection, Strange Commercial (prod. RUBONYX, add-prod. Michael "Seven" Summers)

Jesus this man can be cringe sometimes. There have been funny skits on Tech albums before, but unfortunately this is not one of them. What a shame. 

11. My Wife, My Bitch, My Girl (prod. Rick Rock)

The first true misfire from the N9ne comes in the form of this monstrosity of a song, where the man tries his best to maintain the loyalty of his audience whilst rapping about his pride in serial infidelity. I'm almost glad that the instrumental here is so fucking godawful - imagine if he'd used a good beat to rap about this subject matter. This song is abrasive, messy, and misogynistic - and furthermore, it's truly awful. One of the worst songs from Tech's golden era run.

12. Flash (prod. Rune Rask & Troo.L.S.)

I mean, I guess this is definitely an improvement over the last song - but that doesn't mean I'm exactly in love with it. The same guys who cooked up the "Caribou Lou" beat try their hand at something a little more sensual here, and the groove of it is pretty nice - unfortunately Tech proves that he's incapable of subtlety here by devoting all of his verses to his pleasure in watching all the women at his concerts take their bras of - hence the title of the song. This song is definitely sonically better than the previous one, but lyrically it's no less ignorant - and while you could argue some of the stuff on Absolute Power was ignorant too, at least it was inventive and sounded unique. This song just sounds boring. What a shame. Again.

Your Descent 

13. Come Gangsta (prod. Michael "Seven" Summers)

I guess Tech finally remembered that he's supposed to be making "Strange Music", and so as the first song in "Your Descent", we get something far more experimental than what we've been hearing on the last few tracks. "Come Gangsta" is a song about how Tech feels like he isn't getting the props he should because his image doesn't fit that of a typical gangsta, and the song stands out in the man's storied catalogue for having a dramatic, almost operatic sound throughout, one that compliments Tech's aggressive demeanour on the track to no end - this is seriously one of the best cuts on the entire album. Tech N9ne's lyrics, flows, and even singing on this song are straight perfection, with the chorus being catchy as hell too, and the whole song carries this ominous feeling, until we hit the third verse, where Tech lets all of his rage at the industry out in a burst of energy. This entire track is a rollercoaster of emotions, but the incredible production and Tech's powerful performance make it an entertaining and objectively fucking great adventure. This is a truly phenomenal song. 

14. The Melancholy Maze & My World Intro

One of my favourite skits on any Tech album ever. It's a real shame the creativity of the interludes on this LP (okay, maybe not "Hood Connection") didn't carry into the monotonous ones littering his later LPs. This shit is entertaining as fuck, and even incorporates a little verse too. Nice stuff.

15. My World (feat. Brotha Lynch Hung & Dalima) (prod. The Legendary Traxter)

Where Tech's constant lyrics about sex, drugs, and haters meant the previous section of this album became kind of redundant, it seems that "Your Descent" has a far more interesting direction, lyrically and musically, which we can all be grateful for. And frankly, "My World" is one of the man's finest moments. Over a pulsating and intense instrumental from one of Twista's main producers, Tech and his guest stars spit hard bars and lightning flows, with dystopian and, perhaps inevitably, braggadocios content, that goes over incredibly well, although it's perhaps more the aforementioned flows that keep this track the incredible piece of music it is. Also, that chorus, one of the catchiest here. This is by no means Tech's most powerful or well-written song, but it sure is entertaining as hell, and sounds frankly fucking great. "Fight this phantom, your freakin' family will fall flat!" Brilliant stuff. 

16. Running Out Of Time "ROOT" (prod. Michael "Seven" Summers)

I remember finding this one of the more forgettable songs on the album, but you know what I actually enjoyed it quite a lot this time around. I think the hook is terrible, sure, with Krizz Kaliko's weird vocal quirks and the robotic female singing creating a miserable marriage of sounds - but Tech's verses? Really fucking good, especially in the second, when he really speeds his flows up in a way that almost reminded me of the first verse of "This Ring". The lyrics about needing that dough quickly are pretty interesting too, and Seven's beat is a nice mix of dark without being corny at all. This isn't the best track on the album, but it could be a lot worse. Also, that title is really funny for some reason. 

17. The Rain (feat. Alyia & Reign Yates) (prod. Robert "Polyhedron" Young)

The second true emotional high of the record, and while "Come Gangsta" was Tech's anger, this song is themed around his sadness and regrets, and even if it is a little cheesy, it still is a little tear jerking at times. The song, like "This Ring" from Anghellic, discusses Tech's issues with maintaining a fan base and touring all the time, whilst trying to maintain his family too, and how this is starting to fall apart. It's pretty said, especially when he gets his daughters to rap the second verse for him - and while Tech's style isn't really suited to this soppy stuff (his most heart-wrenching work is the far darker "Trapped In a Psycho's Body" for my money), I do think this track is pretty well done. Also, the vocal sample used here is absolutely beautiful. Who new something taken from an Anime called "Cowboy Bebop" could sound so good?

Welcome Back/Party Hard

18. Fuck 'em Girl (feat. Big Krizz Kaliko & Kutt Calhoun) (prod. Michael "Seven" Summers)

I don't think even Tech's biggest fans would be annoyed if I were to say this song sucks - this is widely regarded as the major dud on this album, and yeah... it's pretty weak. Tech and his employees of the month attempt to earn the forgiveness of the ladies after some of the incredibly misogynistic music we heard earlier on, by attempting a sort of feminist anthem, and my God does it ring hollow. Nothing about this track fits on the album, and while I do appreciate the sentiment, the credibility of these gentlemen is at an all time low, especially Tech, following stuff like "My Wife, My Bitch, My Girl" (which, by the way, is actually a worse song than this). Also, this beat just doesn't work, even if it does seem to have more effort put into it than the verses on here. A misstep - but without missteps, would we really be able to appreciate the good stuff? Yeah, probably. 

19. The Beast (prod. Da Riffs)

A minor hit for Tech, that has managed to ascend its way into his top ten songs on Spotify, alongside another Everready track, "Caribou Lou". It's no wonder, as this song is highly catchy and actually quite danceable - as well as being highly energetic, a trait completely missing from the very flat and uninteresting previous song, it manages to feel like something that might get played on the radio, which makes me wonder why Tech didn't choose this as the album's lead single over the skeletal "'Bout ta' Bubble". While this track isn't one of my favourites on this album, I do appreciate it's intent - and as vulgar and lyrically generic as this is at times, it is definitely fun. Overall, I like this track a lot. 

20. This Is Me (prod. Official Productions)

Looks like we have a new winner for the "most uninspired producer name of all time" award. Thankfully, the guy's actual production work is a little more well thought out, as the beat on here is actually dope as hell. The sound effects in this instrumental are weird but wonderful, and the way everything comes together makes for a sound that truly feels like we're ending the album. Meanwhile, Tech decides that he's done partying hard for now, and instead devotes the lyrics here to explaining why he is the way he is, while also comparing himself to other artists who were more popular at the time. Also, the chorus on here is actually pretty good, something I'd given up on by this point, so that was nice. Overall, a solid way to end the album. I like this one a lot. 

Goodbye 

I do hope I don't rile up any Tech fans here but... Everready [The Religion] is not only nowhere near a classic, but it also isn't close to Tech's best album. In my opinion at least. It's very good, and I do enjoy it... but seriously, this thing has multiple issues we can get into that prevent it from being the masterpiece it is sometimes hailed as. I mean, for starters, there's a serious issue with the hooks on this album. Why are they all so repetitive, overdramatic, and quite frankly, not catchy? I mean, sure, some of them are pretty fun, but while Krizz Kaliko has proven himself in many cases to be a good vocalist, he just keeps singing in these weird accents, and teaming up with these robotic sounding female vocalists, to make for incredibly off choruses, which sometimes feel like Tech has thrown them in so the track as a whole will feel a bit weirder - like the one on "Night and Day" for example, or even "Jellysickle". On the other hand, the one on "Fuck 'em Girl" feels like a placeholder that they forgot to change when mastering the album. And another thing - there are way more generally weak songs here than on his previous two major albums (not counting the compilations I reviewed). I mean, did Tech really think that mastering, mixing, and eventually releasing the terrible "My Wife, My Bitch, My Girl" was a good idea? Hell, how did Rick Rock let someone else hear that beat in the first place? Awful! And also, while I appreciate why Tech wanted to make party music, I do find some of the songs in the first half of this album, especially from "It's What You Thinkin'" up to "Flash", do start to blend together, and begin to sound very similar. Not bad necessarily - just similar. 

But enough with the bad - because as I said before, I still do think this album is good. Tech has a knack for making extremely good songs to get hype to, and on here it's no different. "Riot Maker", "'Bout ta Bubble" and "Come Gangsta" are some of his best loud, aggressive tracks ever - and "The Beast" takes that and spins it into one of the best party cuts here too. And when Tech isn't writing about the same ol' shit again and again, he can do really well, and this is especially true in the "Your Descent" portion of the album, which contains some of the most enjoyable and replayable music on this LP. Hell, "My World" might be one of his best songs ever. Oh, and while I did criticise some of the party songs, there's no denying that "Caribou Lou" is catchy as fuck, and a great, fun club banger, with a legitimately brilliant hook. If Tech had spent a little more time with working this album to perfection, or perhaps even just cut out a little bit of the fluff, this could have been an all time great record - it's just that for me, it is a little repetitive and in-your-face at times. The album is solid overall. But hey - who cares about my opinion. There's a million Tech fans that will probably tell you this is the best album of all time, and maybe they're right. Still, thanks for reading anyway. 

Best Tracks: Riot Maker, Welcome to the Midwest, Bout ta' Bubble, Caribou Lou, Come Gangsta, My World, This Is Me

Worst Tracks: My Wife My Bitch My Girl, Fuck 'em Girl

More Tech N9ne reviews!

Busta Rhymes - It Ain't Safe No More...

Busta Rhymes, while no longer my favourite rapper of all time, remains as a top tier MC in my book, one of the more underrated rappers who undeservedly gets thrown around far too often in "best rappers without a classic album" conversations - did these people even hear The Coming? His unique delivery and flows teamed with his rather diverse vocabulary (which perhaps does use the n-word a little too often) make him a rapper who I am always excited to see on a feature list - inevitably he'll bring a well-written and impeccably performed verse to the table, that will almost certainly have extremely positive effects on the song, aside from perhaps his outshining the host, which has happened on numerous occasions. 

Of course, this only applies to guest verses prior to 2021 - as these days the man has started to completely fucking suck. But oh well. Every dog has his day, and it seems Busta's is up. At least he gave us a solid 30 years of great music and brilliant verses. He really did deserve that Rock & Roll Hall Of Fame induction, plus every platinum plaque he has received over the years. The man is truly a legend.

That said, the album I'm covering today is certainly a weird one - while It Ain't Safe No More...'s main single, a collaboration with Mariah Carey titled "I Know What You Want", was one of the highest charting and most successful tracks of Busta's entire career, the album itself was a commercial flop, failing to breach Billboard's top 40, let alone top 10 like some of his previous records. Sure, the lead single "Make It Clap" wasn't very popular, but neither was "Get Out!!" and Anarchy still charted decently well. And since his other album with J Records, the very solid Genesis, had sold pretty damn well, it didn't seem to be the label that was to be blamed for the record's flop either (although Busta's departure from it the following year might seem to indicate that). So was it the music?

Well, that's what I'm here to find out. Well actually, I already know, since I've listened to this album many times and have owned it for years, but hopefully my dear readers will know too by the end of this review. 

1. Intro

Presumably a dare from one of the executives. There's no way Busta, or indeed anyone around him, thought that this utter bullshit would help people actually want to listen to the rest of the album. There's no way, right? Fucking hell.

2. It Ain't Safe No More... (feat. Meka) (prod. Dilla)

Those that made it past the worst introductory track in hip-hop history - no, I'm not exaggerating - would be presented here with a title track that is altogether pleasant, if nothing that stands out when it comes to any of the artists involved. While the chorus here is pretty terrible, I find Busta's flow and lyrics during the verses to be somewhat engaging, if perhaps nowhere near as quotable as some of the performances he layed down on previous records - he seems to be back in the apocalyptic bag that fuelled his first four albums here, and I'm all for it. Meanwhile, Dilla's production work is also pretty nice for an opening track, if not really matching the darker tone of the lyrics very well. This is a decent opening track, but I'd be lying if I said I'd ever revisit it. And that chorus really doesn't help matters. 

3. What Do You Do When You're Branded (prod. DJ Scratch)

Another celebratory sounding beat, this one with a slightly more Anglo-Saxon edge, is the backbone for this cut which is all flash and little substance - not that that's something it stands out for in the Busta catalogue. I kind of enjoy this, but once again I'm realising as I re listen that I don't really remember anything that Busta says on here, which wasn't even the case on the overly long and mostly drab Anarchy. Hell, the ridiculously stupid chorus and the equally inane song title are the only things that I remembered about this one at all. Busta does sound aggressive on here, and he maintains a dope flow, but there are no punchlines, no funny lyrics, not even a cohesive theme outside of the fact that Busta and his gang may and probably will fuck you up (as emphasised in the skit at the end). This one sounds nice, but when you read into it it becomes very apparent that there really wasn't much effort put in. It's decent.

4. Call the Ambulance (prod. The Neptunes)

Even though Busta's cousin Rampage does show up on here for almost as much screen time as our host, his name is nowhere to be found in the credits. I guess the label decided that no-one cared enough to bother advertising his name, although if that was the case why advertise Meka? This track is most famous for appearing at the end of the highly successful "I Know What You Want" video, but it works as its own thing as well, especially with regards to The Neptunes' hardcore production, as they provide a horn-filled beat that sounds just like Busta and his entourage are storming your studio and taking you all out. And while moments of Busta's first verse remind me quite significantly of "We Comin' Through" (a fucking terrible song from Anarchy), it's mostly okay, and Rampage does his thing too. Again, the chorus sucks, but unlike the last two tracks, this song has enough shame to advertise itself as a mere shit-talking cut, so the lack of true substance in the verses is more acceptable. Overall this is good, even if it certainly isn't perfect. 

5. We Goin' To Do It To Ya (prod. Megahertz)

Jeez, it's easy to forget how stacked the producer list on this LP is. On this track, with one of the most half-assed song titles I've ever seen, Busta rides Megahertz' "barefoot jungle shit", which actually amounts to a skeletal club-ready instrumental that is easily one of the most boring to appear on any Busta album ever. Not that Busta's verses are wasted with it, though, as he apparently decided the instrumental wasn't good enough to save, so spits two ad-lib filled verses with terribly formulaic flows, and lyrical content discussing a whole bunch of nothing. Album filler at its most obvious. 

6. What Up (prod. Dilla)

I'm only just realising now how much some of these verses remind me of the worst parts of Anarchy. It's quite uncanny. This track is also one of the weakest so far, as while Busta's performance is definitely better than it was on the last song (if still lyrically lacking and unmemorable), the chorus here is terrible, and J Dilla's instrumental is easily one of his most questionable, amounting to what sounds like a bunch of abrasive noises thrown on top of each other. There's experimental, and then there's messiness, and this falls into the latter category. 

7. Turn Me Up Some (prod. Dilla)

Wow. It's difficult to believe that the producer and rapper who concocted that terrible previous track also made this song - quite easily the best track on the entire album. Now, this certainly isn't your typical Busta Rhymes song, and it would therefore be difficult to call it a classic track from Trevor, but on its own this is a fantastic experimentation from him, as he glides absolutely beautifully over this Dilla beat, with it's meandering synths creating a wonderful atmosphere that is punctuated by the awesome Redman samples that show up during the hook. Busta sounds fantastic on here, killing it with the flow and delivery, and this is seriously one of the best beats J Dilla ever cooked up. This is a fucking awesome song - if you don't have time for the whole album then at least check this one. 

8. Make It Clap (feat. Spliff Star) (prod. Rick Rock)

The lead single for this album, a puzzling choice given how not like a Busta Rhymes song this sounds. The instrumental, the flows, the inane "aren't I cool I'm in a strip club and have to pay women thousands of pounds just to get a lap dance" lyrics that spill into the ridiculous hook. Everything just screams generic - even if Busta sounds okay on this beat and the beat itself is kind of fun, it's just so easy to see why this got literally no radio play or real push back in the day. Perhaps the album's poor sales can be blamed on this ridiculous song alone - it certainly doesn't inspire much hope in a listener wanting something on the level of The Coming. And you know what? Compared with the next few tracks, this sounds like an actually great club song. Jesus.

9. Take It Off Part 2 (feat. Meka) (prod. Mario "Yellow Man" Winans)

Fuck this shit, and especially fuck the skit that comes after it. Did anyone listening to that find it funny? Seriously, I want answers!

10. Taste It (prod. Tetamus)

I don't care what anyone says - including the sounds of slurping in the chorus of your song is never going to be a good idea. I refuse to even finish listening to this. Fucking hell. Who's idea was that??

11. Hey Ladies (prod. Wildstyle)

Hey look! An actually decent song! God I've missed them. While the instrumental track feels a bit too much like The Tango (I think that's the dance I'm thinking of) for me, Busta's performance on here, as well as the very strong chorus, make this one of the more entertaining tracks amongst a lot of the slop that we're being presented with around the middle of this album. The raunchy, sexual lyrics of the awful previous two songs are out of the window here, replaced with solid flows about his successful career in music, his abilities to get all the girls, and also how his entourage will behead you, and then balance your freshly severed cranium on the top of a tree branch for some unexplained reason. Also, Busta's delivery here manages to remain calm without sounding crudely sexual, which is a bonus. As I said, the beat here is kinda bad, but Busta's performance really makes up for it. This one is pretty good. 

12. I Know What You Want (feat. Mariah Carey & The Flipmode Squad) (prod. Rick Rock)

I think this is probably Busta's most recognisable single ever, which is kind of depressing when you realise just how much better most of his other singles are. I guess it just goes to show that creativity and chart performance are pretty much perpendicular. This track is catchy, smooth, and features none of the spark that made some of Busta's earlier projects so successful. Any early 2000s hip-hop artist could have made this, and would probably have done a better job of singing the chorus alongside Mariah too. And Busta has proved that he can sing pretty well, so don't ask me what the hell happened here. And don't get me wrong, this is a decent song - the instrumental is smooth and very memorable, the hook is catchy, and aside from Rampage (who exhibits why he always has to yell on songs - his attempt at a softer delivery is akin to a drunk 50 year old trying to freestyle) the Flipmode Squad fit in quite nicely here. I just wish that the song that is by far Busta's most streamed was a little more interesting.

13. Riot (prod. Denaun)

Denaun's production here is typical of his work, with a simplistic and eerie sounding instrumental lending itself well to the theme of an incoming riot that's just about to kick off - and I think it suits Busta hella well, as the man sounds excellent on his verses here, with a great flow and delivery making up for a general lack of lyrical substance. Unfortunately this song is deducted many points by being home to one of the worst choruses I have ever heard. Seriously, do some of these rappers realise that you don't need a terrible, corny, poorly sung hook to make a song? What happened to the one verse wonder? I'm sure that I'd play this a decent amount if it were just the verses and beat, but my God can you imagine the embarrassment of being on the aux when that fucking hook comes on? Get that shit out of my face.

14. Hop (prod. Mr. Fingaz)

And the award for "worst producer name of all time" goes to... 

Err, so, yeah. I just re-listened to this song and it really doesn't feel like there's much to say. On the one hand, the chorus doesn't completely suck ass like that on the previous track, but at the same time it's way too wordy to ever be one that might stick. And furthermore, this beat is mediocre, and Busta's verses just seem kind of gimmicky. Ehh. It's okay I guess. Easily one of the most forgettable Busta Rhymes songs in the catalogue. 

15. Together (feat. Rah Digga) (prod. Swizz Beatz)

This album is really starting to drag at this point. I used to really like this one I remember, even thinking it was one of the best tracks on the album. Don't ask me why, as while the sung chorus here is admittedly pretty good and the instrumental had potential, the repetitive flows teamed with the incredibly weird instrumentation and overall vibe on this song kind of leave it doomed to failure. But hey, at least it's a bit more interesting than most of the other songs here. I'm really losing patience with this album. 

16. Struttin' Like a G.O.D. (prod. Ricc Rude)

Another song on here that would be just about passable if it weren't for the fucking horrible chorus that completely throws everything off. Honestly, the horns at the beginning of this track do sound interesting, and Busta flows pretty well over this intense, stadium-ready beat. Unfortunately Spliff Star's squeaky and repetitive chorus is a complete buzzkill, and it isn't like the rest of the song is really worth sitting through it. What a shame. 

17. The Struggle Will Be Lost (feat. Carl Thomas) (prod. Rick Rock)

I'm not even really sure what's happening anymore. 

18. Till It's Gone (prod. Tru Master)

A truly good song that comes as a nice surprise after a frankly terrible run of tracks - this might be the only Busta Rhymes song that has had me shed a tear. Lyrically, this song focuses on the old adage "you don't know what you've got til it's gone", and for Busta Rhymes it's pretty deep, if kind of surface level in the grander scheme of things. The part of this song that had me tearing up was during the third verse where Busta imagines a world without hip-hop music, and for some reason this just really had me going. I guess I was in an emotional mood that day. Still, evoking actual feeling in the listener that isn't sheer boredom and/or embarrassment is something this LP has mostly failed at so far, so props for that. And the production on here is damn good too - True Master really came through. This is a very good way to end the album. 

The following is a hidden track.

19. Make It Clap (Remix) (feat. Sean Paul & Spliff Star) (prod. Rick Rock)

Because a Sean Paul feature was exactly what "Make It Clap" needed to really shine. Who's idea was this?

Much to my dismay given my fond memories of this album, It Ain't Safe No More... is a bit of a disaster. This album is lacking on so many levels that not even Anarchy could compete, and there's little factors to make up for the major issues present on this one. It's not even that a lot of this is boring - more often, it's legitimately terrible, especially with regards to the ill conceived hooks that litter this project, along with some of the instrumentals that sound like they were created for a terrible early 2000s sci-fi comedy flick. I mean, what the hell was Dilla doing with "What Up"? And don't get me started on "The Struggle Will Be Lost", one of the most weirdly terrible songs in the entire Busta catalogue. On relisten, I find that there's very little to redeem It Ain't Safe No More.... Busta's writing reaches an all time low here - he was never one to write intriguing tales, but at least he had an interesting vocabulary and some funny punchlines. Here, he sounds like he isn't even trying, like he's having an identity crisis as he becomes a little too old to maintain the animated persona portrayed on his earlier albums. This results in an incredibly notable lack of memorable verses, and when you're teaming weak writing with some of these awful beats and hooks, you have a recipe for disaster. There are some redeemable values though. "Turn Me Up Some" and "Till It's Gone" are legitimately great, and the first three tracks are okay too, along with "Hey Ladies" and "I Know What You Want". Outside of those, this album is fit for the goddamn dumpster. It's a true shame, because it seemed like Busta was hitting his stride again on Genesis, after the bloated and bleak Anarchy, which by the way sounds like hip-hop perfection compared to this. It Ain't Safe No More... truly is a bust (funny, right), and the worst album in Trevor's catalogue so far by some margin - no wonder he couldn't sell any copies of it. Thankfully, Bus-a-Bus took some actual time crafting his next album, and that along with a signing from master producer Dr. Dre would hopefully indicate a new beginning for the Dungeon Dragon. For now, it's best we leave this album in the past where it belongs - turns out Busta really didn't know what we want. Oh well. 

Best Tracks: "Turn Me Up Some", "Till It's Gone"

Worst Track: "The Struggle Will Be Lost"

Believe it or not, I am actually a big Busta Rhymes fan, even if I kind of hate this album. Read more of my write-ups on him here!